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by Alexander Baron 

The Anne Scott Agency is iocated in a base- 
ment office in Manchester Street between 
Baker Street and Oxford Street, and has been 
established nearly twenty years. 
It is still run by Anne Scott, who is a youthful 
46, but for the past year she has had a part- 
ner, her" daughter Lulu. Lulu has actually 
worked for her mother for the past six years 
in between drama school and various other 

A former dancer, Anne has 
worked for both the BBC 
and ITV in numerous TV 
shows. When she founded 
the agency she j opened her 
office in Hayjing Island, 
hardly the most fashionable 
of places. 

MJ: Why Hayling Island? 

Anne: Because I lived there! 
Although at first there was 
little demand she created it 
by putting on dancing shows. 
The agency moved to Bond 
Street 1977, and | later to its 
present location.! The south 
coast office is still open, and 
altogether the agency has 
eleven staff, including 
: Adams' Richens,! who Anne 
describes as the pest 
choreographer in the 


Although she is (nominally 
the bos^s, she insists the 
agencyjis run democratically; 
Adam jworks with her and 
not for; her. In falct the 
atmosphere is m<pre like a 
family than a business, and 
very easy going 1 , 'although 
typically the phone never 
stops ringing. I, spoke to 
Anne, Lulu and Adam as a 
group. . 

MJ: How many models 
does the agency! have on 
its books? ' 

After some consultation with 
Lulu and Adam. 1 Anne says 
they have about! 350, some 
200 of whom are also 
dancers. They take models 
from 17 years a^id up, but, 
says Lulu, they prefer their 
- models to have some 
experience, perhaps a year 
or so doing modelling or 
similar work. Sensibly they 
say they like their models to 
be more than just models, to 
have something to fall back 
on, and to do between 
assignments. . i 
The agency advertises in The 
Stage twice a year, but most 
of their models cOme to them 
on recommendation. 

MJ: What makes a 
model? How do; you 
choose who to take on? 
Lulu insists that it isn't just 
'the look.' A girl has to have 
personality and be able to 
talk, to speak for herself, so 
dumb blondes are out. 
MJ: What about black 
models; do you have 
many on your books? 
Anne: Quite a few. 

• Agency Boss: ANNE SCOTT 

She says shows are more 
cosmopolitan, but in the end 
it's the clients who choose. 
She says also they don't send 
out a new model on her own 
for at least a month, and that 
all their models go out very 
well made up, presentable, 
with a selection of shoes, 
tights and, most important, 
on time. Punctually is 
number one. 
Lulu: A model can be 
unprofessional with us, but 
only once. 

Most girls stay with the 
agency until they are 28 to 30 
but, says Lulu, they have a 
file of half a dozen or so 
mature models for specialist 

MJ: How many guys do 
you have on your 

They can't be specific, but 
agree it's about fifty to 

MJ: And do they work 
for other agencies? 

Anne says she won't stop 
anybody making a Hying, but 
it is important that the 
agency is kept informed by 
models of the days they are 
available for work. Although 
quite a few models work all 
the time. All Anne's models 
are trained in sales technique 
and many do high class ' 
promo work. They have 
about 150 'main people' 
although all their models do 
get work. Though the 
models work for other 
agencies the'dancers work 
for virtually no one else. 
The idea" of choreographing 
the catwalk strikes me as 
novel but, explains Adam, it 
gives the show something 
extra. The product, clothes 
or whatever is always the 
most important thing, but if 
a show or an exhibition has 
something more, (not 
necessarily a gimmick), then 
it makes it a bit special. 

About 20% of Anne Scott 
Agency's work is overseas, 
including the USA, Japan 
and cruises! 
MJ: And on the 

Anne: We have worked in 
Milan and Paris, but don't 
like to. 

They have a lot of work 
coming up including the 
Men's and Boyswear and 
Excel trade shows, 
Birmingham and London Ski 

• Agency Head: LULU MARODEEN 

Shows and the 
Colgate/Palmolive Tour. 
They're also doing the 
Variety Club of Great 
Britain Love and Roses 
Show for the Queen Mother, 
which includes 40 models 
and dancers. 

Adam relishes the prospect 
of 1992 because he feels the 
Dutch and Germans in 
particular are light years 
behind 'us' in the 
choreography stakes. He 
spent some time in 
Germany, and says that all 
their choreographers are 
either British or American. 

An Anne Scott show is 
something special for Adam. 
His only limitations are the 
amount the client is prepared 
to spend, but he insists he 
sets out to give an amazing 
show at the best price. Some 
of his work borders- on 
fantasy, including 
materialising people out of 
thin air, and hydraulics to 
give a lifting and revolving 
stage. For one ski show he 
transformed a ski slope into 
a toy shop, and the Coca 
Cola Tour including double 
skipping, that is dancers 
skipping over two ropes 
moving in opposite 
directions! He promises the 
Citreon Experience later this 
year will be very interesting. 

As if all this were not enough 
the agency has formed a 
company in conjunction with 
others, including a 
staging/lighting company, a 
TV producer and a film and 
video production team. The 
company, which has 
everything bar a name, will 
be launched in late 

Anne: One phone call will 
organise everything. This 
promises to be not just a 
modelling, but a showbiz 
extravaganza. All in all this 
is a long way from a catwalk 
where models synchronise 
their movements with the 

expense of the glamourous 
but gullible. She says that 
most prospective models are 
only 'wanna bes', but 
whether or not they have 
what it takes, 'so many 
young girls are taken in.' 

She warns always to go to a 
reputable agency, and never 
to part with large sums of 
money on spec. 

Anne gives the following 
rough figures: 
4 £35 for photographer's 
contact sheet 36 photos 
4 £150 for a card 
4 £45 for a headsheet entry 


Like all model agents who 
have been around a while 
Anne Scott is aware of 
crooks, (she calls them 
'sharks'), who pose as 
model agents in the hope of 
making a fast buck at the 

But of course, all this is 
wasted if the girl/man does 
not have what it takes. 

Somewhat amusingly she 

says last month she found an Apparently no harm was 

agency on the south coast done on this occasion, but 

that was using her agency's the example is illustrative of 

headsheet. She refused to the tricks some sharks will 

name the agency or to take pull to part the unwary from 

action against it. their money. 

t SIMONES INTERNATIONAL, Brighton, using Anne Scotts 
(and other agencies) Headsheet for her own publicity. 


November 1989 MODELJOURNAL